Two Figures in a Landscape - Kazimir Malevich
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Beskrivning
A striking figurative work by Kazimir Malevich, featuring simplified, faceless figures set against a geometric, colourful rural backdrop.
Kazimir Malevich, a central figure in the development of Russian avant-garde art, produced this work during his later period. By the late 1920s, Malevich returned to figurative subjects, though he retained the simplified forms and bold colour blocks developed during his earlier Suprematist experiments. This painting depicts two faceless figures standing before a horizontal expanse of fields, a village, and a blue sky dotted with clouds.
The composition relies on a stark, geometric arrangement. The figures are rendered as near-abstract silhouettes, their heads reduced to solid red ovals. This lack of facial features removes individual identity, shifting the focus toward the relationship between the human form and the surrounding environment. The background is organised into distinct, parallel bands of colour, suggesting the agricultural patterns of the Russian countryside. The tree on the right provides a vertical counterpoint to the rigid, upright posture of the figures.
Malevich uses a deliberate, almost naive application of paint. The colours are saturated and applied in flat planes, which flattens the pictorial space. This approach reflects his interest in peasant life and the synthesis of folk art traditions with modern abstraction. The work avoids traditional perspective, instead presenting a symbolic, dreamlike vision of rural existence. By stripping away detail, Malevich invites the viewer to consider the essential qualities of the scene rather than its literal representation. This piece offers a unique insight into the transition between his radical non-objective works and his later, more representational output, demonstrating his ability to maintain a rigorous formal language across different modes of expression.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Two Figures in a Landscape - Kazimir Malevich
Artist Biography
Kazimir Malevich
He was born in 1879 near Kyiv, to parents of Polish origin, the eldest of fourteen children. Nine survived to adulthood. He moved through Impressionism, Symbolism, Fauvism, and Cubism before arriving at Suprematism, a system of pure geometric abstraction that he invented in 1913. White on White (1918) pushed the principle to its logical end: a white square, barely visible, tilted on a white background.
In 1927, he took approximately seventy paintings to Berlin for an exhibition. Soviet authorities recalled him abruptly. He left the entire cache with a German architect named Hugo Haering and never saw them again. The works eventually ended up at MoMA in New York and the Stedelijk Museum in Amsterdam.
In 1930, the secret police arrested him, accused him of Polish espionage, and threatened execution. He was imprisoned for two months. His teaching position was taken away. Artworks and manuscripts were confiscated. He was banned from making art and forced to return to figurative painting under Stalin.
He died of cancer in 1935, aged fifty-six. On his deathbed, Black Square was hung above him. His ashes were buried at Nemchinovka. He had requested a Suprematist sculptural form to mark his grave. Instead, it was marked with a white cube bearing a black square, which was destroyed during the war.
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